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Quincha Architecture: the Development of an Antiseismic Structural System in Seventeenth Century Lima

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Quincha Architecture: the Development of an Antiseismic Structural System in Seventeenth Century Lima Proceedings of the First International Congress on Construction History, Madrid, 20th-24th January 2003, ed. S. Huerta, Madrid: I. Juan de Herrera, SEdHC, ETSAM, A. E. Benvenuto, COAM, F. Dragados, 2003. Quincha architecture: The development of an antiseismic structural system in seventeenth century Lima Humberto Rodríguez Camilloni The introduction of quincha construction in the City of Kings or Lima during the middle of the seventeenth century marked a decisive turning point in the devel- opment of Spanish co]onia] architecture along the Peruvian coast. Not only did this ingenious antiseismic structural system provide a definitive solution to the earthquake problem that had plagued several generations of builders since the founding of the vicerega] capital by Francisco Pizarro in 1535, but it also permitted the creation of monumenta] and lofty interior spaces which paraJleled and even rivaled European designs. Surprising]y, however, quincha construction has received only a general and inadequate treatment in the artistic literature of Spanish colonia] architecture; its fuJl impact stilI awaiting recognition in the history of construction. I In an effort to help fill this void, this paper investigates the earthquake-proof system of quincha and its formal implications, as a cornerstone in the history of South American colonial architecture. In the viceroyalty of Peru, possibly no greater chalIenge confronted the colonia] architects than that of designing buildings that could withstand the frequent earthquakes. Time and again European and viceregal architects had seen the failure of their efforts, incJuding the anachronistic use of Gothic ribbed vaulting in the Cathedral of Lima folJowing ] the earthquake of 609 because it was believed it Figure 1 2 wou]d provide a more resistant structura] system. Constantino de Vasconcelos and Manuel de Escobar: Lima. Neverthe]ess, only with the construction ofthe church Church of San Francisco, west fa\ade, 1657-74 (photo of of San Francisco in ]657-74 (Fig. 1) was a more 1973) 1742 H. Rodríguez effective solution to the problem found through the On the plains of the seacoast, there are two types of use of the antiseismic system of construction known houses. Some are of hahareque and others are of earth as quincha construction. Credit for this revolutionary and adobe. Those of hahareque have for walls and innovation is given to its designer, the Portuguese enclosures a very tight lattice woven likewattle. In making it they set certain thick canes or poles in the architect Constantino de Vasconcelos (d. 1668), and grollnd very close together. and at abollt two cubits from his Peruvian assistant Manuel de Escobar the ground, the run a reed in between in the way of a weft, (1639-1693), who supervised its construction until leaving on each side half of the above-mentioned poles 3 completion. Vasconcelos' originality, however, set in the ground, which cross over that lateral reed like consisted in adapting an ancient Pre-Columbian interweaving; at a similar distance another lateral rced is system of construction for the complex forms of placed, and in this way with three or t'our lateral reeds different types of vaults that a large scale building which are crisscrossed and interwoven bctween those required. The term quincha is in fact derived from the poles that stand upright, they have completed a wal! more Quechua kencha and is synonymous of bahareque, or less two estados in height. We call this type of wal! typicaJly used to identify the walls of primitive huts hahareque, taking the word from the Island of Hispaniola or Tierra Firme. while the natives of this kingdom use the or of other simple constructions made of cane or term quencha. Some dallb this hahareque or wattle with bamboo and mud by the indigenous peoples of the mud; others do not. The roof is constructed over this 4 continent (Fig. 2). A good description of these wattle, and since in this land it never rains, the mof structures is given by Bernabé Cobo in his Historia requires no more workmanship than a covering 01' del Nuevo Mundo (1613-1653): branches for protection from the sun; it was made with lateral poI es and a matting of reeds on topo This is not a sloping mof; rather it is fiat and levellike a terrace. These houses of bahareque are in the t'orm of a square. very humble, smal!. and low. This is the style of the majority 01'the hOllses of small towns and settlements 01'the Indian fishermen who live on the coast.' The arid climate of the Peruvian coast noted by Cobo made quincha an economic, practical and durable system of construction, except during the rare episodes of «El Niño» phenomenon which brought torrential rains and major destruction to the settlements in the region. The primary materials for quincha construction are wood for the structural frame and cane or bamboo for the filI-in webs. The woods most commonly used in Lima were oak (roble) and cedar (cedro), strong woods resistant to insect infestation that had to be imported from Ecuador or Central America. There are also different types of bamboo (depending on the geographic location) exhibiting physical variations most noticeabJe in the thickness of the stems, and in the size and distributions of the nodes, internodes, and branches of the culms. For example, the Bambusa arundinacea is a thick-walled bamboo with inflated nodes and heavy, solitary, thorny lower branches (Fig. 3, A); the Bambusa textilis is a thin-walled bamboo with cylindrical internodes, non-inflated nodes tlared at Figure 2 Primitive South America: Traditional hut showing the sheath scar, and branch buds lacking at the Jower hahareque or quincha wall construction (from Federico no des and tardily developed above (Fig. 3, D); Vegas. Venezuelan Vernacular, 1985) whereas Bambusa vulgaris is a moderately thick- Quincha architecture: The development of an antiseismic structural system 1743 : I~ l!l :.!I:il ~ 111. , , I 'I!¡r~ A ! il: i1 III! NQTA m fPlToP:.:fHE ~I.! fI[I1P! J. ~U!. y ISAA~ Pfr~Nl?e~- ~ $( .::uAI'IJ!t:> 1!.5UM~ I' 1:\ &0,""" ilP\:1ro fSTl(UcTOIC'N, I \\ ~ :.., \; .. .. r G B e \ \\ J E '1 Figure 3 Examples of different bamboos with structural variations in the nodes, internodes and branches of the culms (after V. Hartkopf. Técnicas de com'frucción autóctonas del Perú) walled bamboo, with inflated nodes, dormant branch Escobar and don Juan Santoyo de Palma, «síndico de buds below, and prominent branch complements above la fábrica de San Francisco», it is stipulated that (Fig. 3, C). It shou]d be noted that in al1 bamboos the Escobar would assume the obJigation of directing and diaphragm forms a transverse strengthening structure overseeing the construction of the church folJowing at each node. Ó By the time the Franciscan community the plan and design of Vasconcelos: commissioned Vasconcelos to design a new church to rep]ace an earlier structure that had collapsed in 1656, Manuel de Escobar, como tal oficial de albañil. se obligÓ his reputation as one of the Jeading architects of the de trabajar y que trabajara en la obra de la dicha iglesia viceroyalty had be en well established. His impressive desde hoy dia de la fecha de esta escritura en adelante credentials as «nuevo Arquímedes en las Matemáticas, hasta que se acabe la dicha iglesia por precio de tres pesos Platón en la Filosofía natural, y Diógenes Estoico en de a ocho reales cada dia de trabajo, trabajando de la vida de la naturaleza filosofal»-according to a manufactura personalmente y haciendo oficio de aparejador, maestrando toda la dicha obra siguiendo en contemporary source 7-also included work as todo la planta y disposiciÓn de don Constantino military engineer in the mercury mines of Basconselos [sic], sin salir de su orden en quanto a la Huancavelica in 1643 and lwo years as a designer of disposición y fábrica de dicha iglesia, sin pedir más fortifications in the port of Valdivia (Chile), for precio ni otro concierto en ningún tiempo mientras durare which he had earned the prestigious title of la dicha obra, hasta acabarse la dicha iglesia de todo «cosmógrafo e ingeniero mayor». ~ The choice of punto ni poder salirse a otra obra dentro ni fuera de la Vasconcelos as the designer of the church of San dicha ciudad, sinó sólo a la de la dicha iglesia de Señor Francisco was therefore understandable, but it is also San Francisco. 9 c]ear that from the very beginning the limeño assistant Manuel de Escobar was given the full responsibiJity The details of thi s contract also help explain how it of the execution of the project. Thus, according to the was possible for Escobar to carry on with the project notarial contract signed in Lima on June 14, 1659 by alone after Vasconcelos' death in 1668, for by that 1744 H. Rodríguez time he had acquired sufficient experience and [son como] las conchas del Galápago [que] muestra[n] la authority to introduce some important changes to the parte convexa, y cóncava, no en esfera, sinó en arco original designo Evidence of this is apparent from a triunfal, y las velas de un navío con próspero viento 11 comparison of two contemporary engravings that llenas, [las] representan muy bien. appear in the history of the construction of the new church of San Francisco by Fray Miguel Suárez de This impression must have been in sharp contrast Figueroa and Fray Juan de Benavides. 10 One of these to the interior of the other large churches in Lima that engravings by Pedro Nolasco Mere datable C. 1673 had flat wooden ceilings (artesonados) with shows Vasconcelos' original design; whereas the Renaissance or mudéjar decoration or, as was the other, by Benavides himself and datable c.
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